ding the rather Giorgionesque type of the girlish
Virgin, shows further advance in a more sweeping breadth and a larger
generalisation? The latter, as has already been noted, is signed
"Tician."

[42] "Tizian und Alfons von Este," _Jahrbuch der Koeniglich Preussischen
Kunstsammlungen_, Fuenfzehnter Band, II. Heft, 1894.

[43] Crowe and Cavalcaselle, _Life and Times of Titian_, vol. i. pp.
237-240.

[44] On the circular base of the column upon which the warrior-saint
rests his foot is the signature "Ticianus faciebat MDXXII." This, taken
in conjunction with the signature "Titianus" on the Ancona altar-piece
painted in 1520, tends to show that the line of demarcation between the
two signatures cannot be absolutely fixed.

[45] Lord Wemyss possesses a repetition, probably from Titian's
workshop, of the _St. Sebastian_, slightly smaller than the Brescia
original. This cannot have been the picture catalogued by Vanderdoort as
among Charles I.'s treasures, since the latter, like the earliest
version of the _St. Sebastian_, preceding the definitive work, showed
the saint tied not to a tree, but to a column, and in it the group of
St. Roch and the Angel was replaced by the figures of two archers
shooting.

[46] Ridolfi, followed in this particular by Crowe and Cavalcaselle,
sees in the upturned face of the _St. Nicholas_ a reflection of that of
Laocoon in the Vatican group.

[47] It passed with the rest of the Mantua pictures into the collection
of Charles I., and was after his execution sold by the Commonwealth to
the banker and dealer Jabach for L120. By the latter it was made over to
Louis XIV., together with many other masterpieces acquired in the same
way.

[48] Crowe and Cavalcaselle, _Life and Times of Titian_, vol. i. pp.
298, 299.

[49] The victory over the Turks here commemorated was won by Baffo in
the service of the Borgia Pope, Alexander VI., some twenty-three years
before. This gives a special significance to the position in the picture
of St. Peter, who, with the keys at his feet, stands midway between the
Bishop and the Virgin. We have seen Baffo in one of Titian's earliest
works (_circa_ 1503) recommended to St. Peter by Alexander VI. just
before his departure for this same expedition.

[50] It has been impossible in the first section of these remarks upon
the work of the master of Cadore to go into the very important question
of the drawings rightly and wrongly ascribed to him. Some attempt will
b